The City of Lights, camera & action

MANILA, Philippines - Ongoing at the Greenbelt 3 until Sunday, June 15, is this year’s edition of the annual French Film Festival. From high drama to political satire, from romantic comedies to fantasy love stories, the current batch of films has something for everyone, and at P100 per ticket, has got to be this week’s super treat for film lovers.

Opening the festival was 20 Ans D’Ecart which, while literally translates as The 20 Year Gap, was titled It Boy. A romantic comedy, the film deals with the curious path ambition can take as managing editor for the fashion magazine Rebelle, Alice Lantins (played by the delightful Virgine Efira), finds that at 38, she may be passed over for the position of EIC by those younger and more “with it” in the publishing house’s hierarchy. A chance encounter with 18-year-old Balthazar (Pierre Niney) and an Instagram image of the two which deceptively looks like there is something going on between them, leads Alice to be considered daring and rebellious in spirit, just what the magazine may be looking for! What follows is a hilarious lesson about playing with emotions, finding the shoe (or sneaker) that fits you, and knowing oneself. The sincerity of what Balthazar feels despite the age gap is wonderfully put in contrast to the initially calculating tenor of Alice’s moves. Yes, this is familiar film territory, but there’s a vibrant French-ness to how the film plays out, and this is one cinematic excursion that a broad audience will enjoy.

While one can view the week’s schedule at Greenbelt or the festival’s website, my personal choices of must-sees would be the following: Roman Polanski directing his wife Emmanuelle Seigner in the two-person Venus in Fur. A film adaptation of David Ives’ Tony Award-winning play, this is a brilliant story that follows the late-night audition of an aspiring actress for the director of the play (Mathieu Amalric), caught in an ingenious game of domination and control. Given that the supposed play is inspired by the 19th-century novel that coined the term Masochism, plus we have Polanski at the helm, expect fireworks of a disturbing, kinky and dramatic order.

The political satire Quai D’Orsay (The French Minister) is directed by the maestro Bertrand Tavernier, and from the trailer I caught, it looks like a real masterpiece about the colossal egos of politicians — in this particular case, a Foreign Minister with hopes of being awarded the Nobel Peace Prize. Into his world comes a minion speechwriter, from whose perspective we get our glimpse of the corridors of power and what lies behind the lofty political pronouncements we hear in the news programs. With razor-sharp humor, the film is an exposé of sorts and promises to be exquisite entertainment.

L’Ecume des Jours (Mood Indigo) stars Audrey Tatou (of Amelie fame) and is directed by Michel Gondry. It’s a curious hybrid of fantasy, love story and whimsical visual pageantry. A tragic love story fuels the plot of the film, but if the trailer is any indication, it’s a fantastical, surreal ride that should leave us admiring the daring joie de vivre of the film director. Expect a blend of magical realism European-style in this film, reminiscent of what we could get if someone like Terry Gilliam would take on a love story.

One day of the festival is devoted to Filipino films, with the restored Maynila Sa Kuko ng Liwanag of the late Lino Brocka, Erik Matti’s On The Job and the Lav Diaz opus, Norte, slated to be screened. The common thread among these three films is that they have all screened at Cannes, proof positive of the supportive attitude France continues to shower on the Philippine film industry.

During the opening night, short speeches were given by the French Ambassador to the Philippines Gilles Garachon and Film Development Council of the Philippines (FDCP) chair Briccio Santos. Highlighted was the new agreement entered into by the FDCP and the Centre national du cinéma et de l’image animée (CNC) of France. With film seen as the common ground, areas of cooperation were established, which included co-production, film archival technology and festival synergy, among others. Graced by the presence of the likes of Mercedes Cabral, Issa Litton, director Gil Portes, Sid Lucero, Alessandra de Rossi and Althea Vega, the festival’s opening night was a celebration of how the Philippines and France share this love for the celluloid, and how stirring and substantial work can be achieved in tandem.